CT Critics Give “Who’s Afraid of Virginia Woolf?” and “42nd Street” Top Honors at 31st Annual Awards Ceremony

HARTFORD — A powerful production of “Who’s Afraid of Virginia Woolf?” at the Yale Repertory Theatre and an exuberant production of “42^nd Street” at Goodspeed Musicals took top honors at the 31^st annual Connecticut Critics Circle Awards (ctcritics.org) held on Monday, June 26.

 

The event, which celebrates the work from the state’s professional theaters during the 2022 – 2023 season, was held at TheaterWorks Hartford in downtown Hartford.

 

This year the awards were spread out to many productions throughout the state, though Goodspeed Musicals’ “42^nd Street” earned the most taking five for best musical, outstanding choreography, best featured actor, costumes and projections.  Playhouse on Park’s riveting production of “Indecent” took three honors for best ensemble, director and lighting.

 

Awards for outstanding actor and actress in a musical went to Aaron Lazar for TheaterWorks Hartford’s “Fun Home” and Juliette Redden in Goodspeed Musicals’ “Anne of Green Gables.”

 

Awards for outstanding actor and actress in a play went to Jamil A.C. Mangan for Playhouse on Park’s “Fences” and René Augesen in Yale Repertory Theatre’s “Who’s Afraid of Virginia Woolf?”

 

Top directing awards went to Kelly O’Donnell for Playhouse on Park’s “Indecent” and Daniel C. Levine for A Contemporary Theatre’s “The Secret Garden.”

 

Animal trainer William Berloni, who began his career training Sandy the dog for Goodspeed Musicals’ original production of “Annie,” was honored with the Tom Killen Award for lifetime service to the theater.

 

Mark Lamos, the outgoing Artistic Director of the Westport Country Playhouse, was presented with a special award for his long and distinguished artistic career in the state.

 

Outstanding ensemble award went to the cast of West Hartford’s Playhouse on Park’s “Indecent:” Noa Graham, Dan Krackhardt, Helen Laser, Michelle Lemon, Ben McLaughlin, Kirsten Peacock, Bart Shatto, Alexander Sovronsky, Jack Theiling, Sydney Weiser, and Dan Zimberg.

 

Randy Skinner won for his choreography for Goodspeed Musicals’ “42^nd Street.”

 

The outstanding featured actress award in a musical went to Laura Woyasz in A Contemporary Theatre’s production of “The Secret Garden.” Outstanding featured actor in a musical honors went to Blake Stadnik for Goodspeed Musicals’ “42^nd Street.”

 

The award for outstanding featured actors in a play went to John Maddaloni for Hartford Stage’s “The Winter’s Tale” and to Alma Martinez for the Yale Repertory Theatre’s production of “Mojada: A Medea in Los Angeles.”

 

Design awards went to Jessica Paz and Beth Lake for sound for Hartford Stage’s “Kiss My Aztec!;” Kara Harmon for costumes for Goodspeed Musical’s “42^nd Street;” Joe Beumer for lighting for Playhouse on Park’s “Indecent;” Shawn Duan for projections for Goodspeed Musical’s “42^nd Street;” and Riw Rakkulchon for Hartford Stage’s production of “The Mousetrap.”

 

Helping to present the awards were Playwright Jacques Lamarre; Godfrey Simmons, Artistic Director of HartBeat Ensemble in Hartford; and Megan Monaghan Rivas. Artistic Director of Connecticut Repertory Theatre and Department Head of Dramatic Arts at the University of Connecticut.

 

 

Webster's Bitch - Playhouse on Park

Webster’s Bitch, receiving its world premiere at Playhouse on Park, presents two, slightly overlapping workplace matters.  First, is the serious issue of gender and pay inequity.  Second, and the more interesting and of-the-moment plot line, is the consequences of an unintended gaffe as it ricochets across social media platforms.  While equity concerns are very important,  Playwright Jacqueline Bircher should consider honing in on the latter subject area and reevaluating the necessity of the former to craft a tighter, more thought-provoking show.  Viral takedowns of politicians, college administrators and business leaders are becoming commonplace but, as a friend of mine likes to say, there are three sides to every story.  The subject is ripe for a broader ethical and philosophical discussion.  Webster’s Bitch gives us a glimpse, but could give audiences so much more.

 

The production opens in the offices of the Webster dictionary.  Gwen (Mia Wurgaft) and co-worker Nick (HanJie Chow) are busily preparing an update for the online version of the book.  Waiting very impatiently, we soon learn, is Gwen’s sister Ellie (Isabel Monk Cade).  Before she heads off for a year stint in Nepal, she wants to celebrate with Gwen.  Before the partying can commence, Ellie receives a notification on one of her social media accounts about an off-color remark by Frank (Peter Simon Hilton), Editor-in-Chief of the publication.  Speaking at an academic conference, he is unknowingly recorded uttering an obscenity about Joyce (Veanne Cox), his subordinate and the supervisor of Gwen and Nick.  Unfortunately, the clip, spreading like wildfire, won’t go away and cannot be ignored.

 

This scenario sets up a drama that, as previously stated, focuses on issues of pay inequity and gender politics, but also obscenity in the digital age and their moral and ethical implications. 

 

The five-person cast is a mixed bag.  Veanne Cox, a veteran Broadway performer making her debut at Playhouse, deftly imbues her character, Joyce, with a repressed rage and simmering resentment.  Her outfit, pulled back hair, and clipped speech all define the woman she has become within the impaired work environment of Webster’s dictionary.  Peter Simon Hilton’s portrayal of Frank perfectly seizes upon the conflicting emotions and actions of an individual caught in the crosshairs of a social media firestorm.  He is fittingly combative, apologetic, devious and Machiavellian as he fights for his reputation and livelihood.

 

Mia Wurgaft is steady and convincing as a woman seeking a career and respect in an industry she loves.  HanJie Chow infuses his character of Nick with a haughtiness that is a touch too passive.  His scenes with Gwen would have crackled with a bit more toughness.  Isabel Monk Cade’s approach to the character of Ellie needs to be rethought.  It added comedy to the production, but was just not believable. 

 

Director Vaness Morosco dutifully sets the stage within Johann Fitzpatrick’s cluttered, businesslike Scenic Design.  She slowly lays the groundwork for the fireworks that are about to explode. I wish, in collaboration with the playwright, she would have toned down the character of Ellie.  Her over-the-top performance, while eliciting laughs from the audience, was unreal and distracting.  Conversely, the portrayal of Nick would benefitted with a more assured, even cocky presence.  Ms. Morosco does skillfully direct the confrontation scene between Joyce and Frank at the end of the show as their mutual contempt, dislike and power struggle comes to a head.

 

Webster’s Bitch, playing at Playhouse on Park through June 18.  Click here for dates, times, and ticket information.

The Secret Garden - ACT of CT

The production of The Secret Garden at ACT of CT is the most fulfilling musical in their five year history.  The show is creatively imagined, the cast is marvelous, the score is beautifully sung, and Director Daniel C. Levine has ratched down the histrionics to present a show that garnered 10 Connecticut Critic Circle nominations.

 

Based on the 1911 novel of the same name by Frances Hodgson Burnett, the show follows young Mary Lennox (Charlotte Ewing), a plucky, but distraught ten-year old girl whose family succumbs to a cholera epidemic in India.  She is sent to live in a remote English countryside to reside with her dispirited uncle Archibald (Brian Golub).  At first, her interactions with the main occupants of the household - her uncle, his calculating brother, Dr. Neville Craven (Matt Faucher), and the reserved housekeeper, Mrs. Medlock (Jorie Janeway) - are chilly and difficult.  Soon, however, she befriends the manor’s maid, Martha (Laura Woyasz) and her brother, Dickon (DJ Plunkett).  They help her cope, primarily as she and Dickon set forth to resurrect the estate’s long-neglected English garden.  Through perseverance and sheer grit they succeed, which also has the unintended side effect of bringing the entire household back together with love and joyfulness.

 

The music by Lucy Simon and lyrics by Marsha Norman are full of impassioned highs and poignant lows.  They gorgeously and concisely convey the emotional feelings and motivations of the characters and help propel the story to its compassionate and satisfactory conclusion. 

 

The book by Ms. Norman skillfully synthesizes the essence of this classic tale of children’s literature.  The characters are well-developed and the plotting easy to follow, especially for the younger audiences the musical attracts. 

 

Director Daniel C. Levine adeptly blends into the show Camilla Tassi’s visually appealing video projections, Charlie Morrison’s distinct Lighting Design and David Goldstein’s simple, but highly effective Scenic Design.  Marisa Barnes’ Sound Design is appropriately less over-the-top than recent productions at the venue.  Leslie Bernstein’s elegant and abundant Costume Designs are a visual treat.

 

Mr. Levine moves the production forward without any unnecessary embellishments.  He handles the opening sequence with artistry and aplomb.  His incorporation of a ghostly Greek Chorus is effective and not distracting as they appear throughout the musical.  For a musical that is not known as a dance show, Nathan Peck's choreography adds a vibrancy that only further enhances the production.

 

The Secret Garden benefits greatly from a superb troupe of performers.  At the fore is Charlotte Ewing as Mary Lennox.  The young actress, who is finding her way in the world, has the requisite spunk and sparkle to make her portrayal both heartwarming and believable. 

 

Brian Golub is impressive as uncle Archibald, a tortured soul who eventually finds happiness and redemption.  The actor has a powerful voice and convincing manner that evokes sympathy and closeness from the audience.  Matt Faucher brings a studied coolness and guilefulness to the role of Dr. Neville Craven.  Katie Diamond is alluring as the ethereal spirit of Lily Craven.  Two of the featured performers - Laura Woyasz as Martha and DJ Plunkett as Dickon - provide solid comic performances that are buoyant and full of exhilaration.

 

The Secret Garden, playing at ACT of CT through June 11.  Click here for ticket information.

Tony Musings - Best Revival of a Musical & Best Musical

IT’S TONY TIME!

The Tony Award ceremony is this Sunday, June 11.  This is the last of my pithy views on the musical nominations.  Let’s see if you agree or not.  Send me your thoughts.  I always love to hear from you.  

The schedule will be:

May 3 - Best Scenic Design of a Musical & Best Costume Design of a Musical

May 10 - Best Direction of a Musical & Best Choreography

May 17 - Best Book of a Musical & Best Original Score

May 24 - Best Performance by an Actor/Actress  in a Featured Role in a Musical

May 31 - Best Performance by an Actor/Actress  in a Leading Role in a Musical

June 7 - Best Revival of a Musical & Best Musical

Best Revival of a Musical
Into the Woods
Lerner & Loewe's Camelot
Parade
Sweeney Todd: The Demon Barber of Fleet Street

Four shows that, depending on the year, could easily win this category.  I’m dropping Camelot from this year’s running.  Aaron Sorkin gave it a good try reworking the book, but it still doesn’t work.

The other three?  Flip a coin.  Draw a card.  Go Eeny, meeny, miny, moe.  I could make a case for any of them, but I do need to select a winner.

Sweeney Todd - not that impressed with Josh Groban even though Annaleigh Ashford was superb.  Nix this.

Into the Woods - I was very taken with this all-star production.  The acting was magnificent, the minimal set worked, the cow was fabulous, and I’ve never heard Sondheim’s score sound better.  Everything was so right, but…

Parade - I think the show has more weightiness with its themes and it is grand theater in the most positive sense.  Excellent staging lead performers buoyed by a superior featured cast.  My choice for Best Revival.

Best Musical
& Juliet
Kimberly Akimbo
New York, New York
Shucked
Some Like It Hot

As with Best Revival, any of these shows, depending on the year, could win Best Musical.

& Juliet - such a funny, feel-good show with a creative take on the Romeo & Juliet story, but this is not the year for a jukebox musical.

New York, New York - the best production numbers this season from a new musical.  However, the book fails the show.  Out.

Shucked - I’ve seen it twice and laughed throughout both times.  But with the competition, it’s not the year for a yuck-a-minute musical.

Some Like It Hot - throwback to the big, brassy, musical comedies of yore.  Great performances and choreography, but I found the score…disappointing. Sure many of the numbers work within the show like “You Coulda Knocked Me Over With a Feather” and “Let’s Be Bad,” but they are not going to be that memorable.  So…

Kimberly Akimbo - my pick for Best Musical.  Smaller and quieter in scale than Some Like It Hot, but a well-defined story with deeply etched characters.  Victoria Clark gives a bravo performance.  Justin Cooley, a marvelous debut.  The score is full of beautifully crafted songs that are spirited, winsome and heartfelt.

Enjoy the Tony Awards!

Tony Musings - Best Performance by an Actor/Actress in a Leading Role in a Musical

IT’S TONY TIME!

The Tony Award nominations were announced earlier this month.  Some interesting selections and snubs.  I think this is one of the most competitive seasons in a long time.

I continue with my pithy views on the musical nominations.  Let’s see if you agree or not.  Send me your thoughts.  I always love to hear from you.  

The schedule will be:

May 18 - Best Direction of a Musical & Best Choreography

May 24 - Best Book of a Musical & Best Original Score

June 1 - Best Performance by an Actor/Actress  in a Featured Role in a Musical

June 5 - Best Performance by an Actor/Actress  in a Leading Role in a Musical

June 9 - Best Revival of a Musical & Best Musical

 

Best Performance by an Actor in a Leading Role in a Musical

Christian Borle, Some Like It Hot

J. Harrison Ghee, Some Like It Hot

Josh Groban, Sweeney Todd: The Demon Barber of Fleet Street

Brian d'Arcy James, Into the Woods

Ben Platt, Parade

Colton Ryan, New York, New York

There were so many great performances this season that the Tony Awards Committee saw fit to nominate six individuals, even though I would have left Colton Ryan off the list.  I don’t think he reached the heights of the other five.  So, here we go:

Christian Borle - another solid performance by this two-time Tony winner, but solid isn’t good enough this year.

Ben Platt - a fine performance by the actor.  More subdued than the other nominees.  His quiet strength and outrage in this role doesn’t have the wattage to prevail.

Josh Groban - great singer, but acting not up with the other gentlemen in this category.

Brian d'Arcy - he has now been nominated four times for roles in Broadway musicals.  Sadly, even though he was terrific in the show, this will not be his year.

J. Harrison Ghee - I think the overwhelming favorite and my choice for Best Actor in a Musical.  Not only are they an excellent singer and dancer, but they also bring a greater depth to a role, which could have easily been just played for laughs.

Best Performance by an Actress in a Leading Role in a Musical

Annaleigh Ashford, Sweeney Todd: The Demon Barber of Fleet Street

Sara Bareilles, Into the Woods

Victoria Clark, Kimberly Akimbo

Lorna Courtney, & Juliet

Micaela Diamond, Parade

Once again, five very deserving nominees:

Lorna Courtney - she displays an exuberance in her role, but this is more of in-your-face performance.  I loved it, but her performance is not of the caliber of the other four.

Sara Bareilles - Ms. Bareilles has pivoted to become a fine stage actress.  However, there wasn’t as much weightiness or nuance to her performance, as good as it was.

Micaela Diamond - the real heart and soul of this revival.  In another year, she would be the favorite, but she is up against some exemplary performers.

Annaleigh Ashford - Ms. Ashford is one of my favorite comedic actresses.  In Sweeney Todd, she brings more physicality to the role of Mrs. Lovett.  She is funny and even a bit sexy.  In any other year, she would be a shoo-in for the Tony except…

Victoria Clark - put on an acting Master Class in Kimberly Akimbo.  When I saw the Off-Broadway production of the show, I thought if the show moved to Broadway she would be the person to beat.  Within the first 15 minutes of the musical you truly believe she is embodying a teenage girl afflicted by a rare disease that causes premature aging.  It is a bravo performance and my choice for Best Actress in a Musical.

 

“Who’s Afraid of Virginia Woolf?” and “42nd Street” Top 2023 Connecticut Critics Circle Nominations

Yale Repertory Theatre’s staging of the Edward Albee classic, “Who’s Afraid of Virginia Woolf?” and Goodspeed Opera House’s spirited production of “42^nd Street” lead the shows nominated for the 31st annual Connecticut Critics Circle Awards.

The awards event, which celebrates the best in professional theater in the state, will be held Monday, June 26 at 7 p.m. at TheaterWorks Hartford in downtown Hartford.

“Who’s Afraid of Virginia Woolf?” earned six nominations, including outstanding play production, director, and best actor. “42^nd Street” received eleven nods, including outstanding musical production, leading actress, director, choreographer, and best featured actress and actor.

Other outstanding play nominees are Playhouse on Park’s “Indecent;” Yale Repertory Theatre’s “Mojada: A Medea in Los Angeles;” Hartford Stage’s “Trouble in Mind;” and Hartford Stage’s “The Winter’s Tale.”

Also earning outstanding musical nods are TheaterWork Hartford’s “Fun Home;” Goodspeed Opera House’s “Gypsy;” Hartford Stage’s “Kiss My Aztec!;” and A Contemporary Theatre of Connecticut’s (ACT)  “The Secret Garden.”

Receiving the annual Tom Killen Award for lifetime achievement in Connecticut theater is William Berloni, who is best known for his training of rescue and breeder animals for stage, film, and television.  Mr. Berloni trained Sandy for the original production of Annie at the Goodspeed Opera House and on Broadway.

Other nominees are:

Actor in a play: Don Donahue for Yale Repertory Theatre’s “Who’s Afraid of Virginia Woolf?;” Jamil A.C. Mangan for Playhouse on Park’s “Fences;” James Naughton for Ivoryton Playhouse’s “On Golden Pond;” David Shih for Westport Country Playhouse’s “Kim’s Convenience.”

Actress in a play: René Augesen for Yale Repertory Theatre’s “Who’s Afraid of Virginia Woolf?;” Mia Dillon for Westport Country Playhouse’s “4000 Miles;” Camila Moreno for Yale Repertory Theatre’s “Mojada: A Medea in Los Angeles;“ Emma Ramos for Hartford Stage’s “Espejos: Clean;” Heather Alicia Simms for Hartford Stage’s “Trouble in Mind.”

Actor in a musical: Matt Faucher for ACT’s “Guys and Dolls;” Brian Golub for ACT’s “The Secret Garden;” Aaron Lazar for TheaterWorks Hartford’s “Fun Home;” David M. Lutken for Ivoryton Playhouse’s “Ring of Fire;” Joel Perez for Hartford Stage’s “Kiss My Aztec!”  

Actress in a musical: Krystina Alabado for Hartford Stage’s “Kiss My Aztec!;” Charlotte Ewing in ACT’s “The Secret Garden;” Elizabeth Ward Land in Music Theatre of Connecticut’s “Sunset Boulevard;” Carina-Kay Louchiey for Goodspeed Opera House’s “42^nd Street;” Juliette Redden for Goodspeed Opera House’s “Anne of Green Gables.”

Director of a play: Melia Bensussen for Hartford Stage’s “The Winter’s Tale;” James Bundy for Yale Repertory Theatre’s “Who’s Afraid of Virginia Woolf?;” Kelly O’Donnell for Playhouse on Park’s “Indecent;” Laurie Woolery for Yale Repertory Theatre’s “Mojada: A Medea in Los Angeles.”

Director of a musical: Daniel C. Levine for ACT’s “The Secret Garden;” Rob Ruggiero for TheaterWork Hartford’s “Fun Home;” Randy Skinner for Goodspeed Opera House’s “42^nd Street;” Jenn Thompson for Goodspeed Opera House’s “Anne of Green Gables” and “Gypsy.”

Choreography: Sara Brians for ACT’s “Guys and Dolls;” Marjorie Failoni for Goodspeed Opera House’s “Christmas in Connecticut;” Mayte Natalio for Hartford Stage’s “Kiss My Aztec!;” Randy Skinner for Goodspeed Opera House’s “42^nd Street;” Darlene Zoller for Playhouse on Park’s “Pippin.”

Featured actor in a play: John Bambery in Hartford Stage’s “Trouble in Mind;” Ephraim Birney in TheaterWorks Hartford’s “The Rembrandt;” Sabatino Cruz in Ivoryton Playhouse’s “On Golden Pond;” Sam Given in Ivoryton Playhouse’s “The Legend of Georgia McBride;” John Maddaloni in Hartford Stage’s “The Winter’s Tale.”

Featured actress in a play: Silvia Dionicio in TheaterWork Hartford’s “Queen of Basel;” Alma Martinez in Yale Repertory Theatre’s “Mojada: A Medea in Los Angeles;” Pearl Rhein in Hartford Stage’s “The Winter’s Tale;”
Monica Sanchez in Yale Repertory Theatre’s “Mojada: A Medea in Los Angeles;” Adrienne S. Wells in Yale Repertory Theatre’s “the Ripple, the wave that carried me home.”

Featured actor in a musical: Matt Faucher for ACT’s “The Secret Garden;” Pierre Marais in Goodspeed Opera House’s “Anne of Green Gables;” DJ Plunkett for ACT’s “The Secret Garden;” Matt Saldivar in Hartford Stage’s “Kiss My Aztec!;” Blake Stadnik in Goodspeed Opera House’s “42^nd Street.”

Featured actress in a musical: Kate Baldwin for Goodspeed Opera House’s “42^nd Street;” Skylar Lynn Matthews for TheaterWork Hartford’s “Fun Home;” Julia Nightingale for TheaterWork Hartford’s “Fun Home;” Kate Wesler in Playhouse on Park’s “Pippin;” Laura Woyasz in ACT’s “The Secret Garden.”

Ensemble: Casts of Westport Country Playhouse’s “Ain’t Misbehavin’;” Thrown Stone’s “Hysterical!;” Playhouse on Park’s “Indecent;” Ivoryton Playhouse’s “Smokey Joe’s Café.”

Set design: Michael Carnahan for Goodspeed Opera House’s “42^nd Street;” You-Shin Chen for Westport Country Playhouse’s “Kim’s Convenience;” Riw Rakkulchon for Hartford Stage’s “The Mousetrap;” Clint Ramos for Hartford Stage’s “Kiss My Aztec!;” Miguel Urbino for Yale Repertory Theatre’s “Who’s Afraid of Virginia Woolf?”

Costume design: Fabian Fidel Aguilar for Hartford Stage’s “The Mousetrap;” Leslie Bernstein for ACT’s “The Secret Garden;” Kara Harmon for Goodspeed Opera House’s “42^nd Street;” Clint Ramos for Hartford Stage’s “Kiss My Aztec!;” Eduardo Sicangco for Goodspeed Opera House’s “Gypsy.”

Lighting design: Joe Beumer for Playhouse on Park ‘s “Indecent;” Charlie Morrison for ACT’s “The Secret Garden;” Cory Pattak for Goodspeed Opera House’s “42^nd Street;” Jiahao Qiu for Yale Repertory Theatre’s “Who’s Afraid of Virginia Woolf?;” Krista Smith for Hartford Stage’s “The Mousetrap.”

Sound design: Daniela Hart & Uptownworks for Hartford Stage’s “Espejos: Clean;” Jay Hilton for Goodspeed Opera House’s “42^nd Street;” Jessica Paz & Beth Lake for Hartford Stages “Kiss My Aztec!;” Evdoxia Ragkou for Yale Repertory Theatre’s “the Ripple, the wave that carried me home;” Jeffrey Salerno for Playhouse on Park’s “Indecent.”

Projections: Shawn Duan for Goodspeed Opera House’s “42^nd Street;” Lisa Renkel for Hartford Stages “Espejos: Clean;” Henry Rodriguez for Yale Repertory Theatre’s “the Ripple, the wave that carried me home;” Camilla Tassi for TheaterWork Hartford’s “Fun Home.”

 

MUSICALS

42^nd Street – 11

The Secret Garden – 10

Kiss My Aztec! – 8

Fun Home – 6

Gypsy – 3

Anne of Green Gables – 3

Guys and Dolls (ACT) – 2

Ain’t Misbehavin’ - 1

Ring of Fire – 1

Smokey Joe’s Cafe - 1

Sunset Boulevard – 1

 

PLAYS

Who’s Afraid of Virginia Woolf? – 6

Indecent  - 5

Mojada: A Medea in Los Angeles – 5

The Winter’s Tale – 4

Espejos: Clean – 3

The Mousetrap – 3

The Ripple, the wave that carried me home – 3

Trouble in Mind – 3

Kim’s Convenience – 2

On Golden Pond – 2

Pippin – 2

4000 Miles – 1

Christmas in CT - 1

Fences – 1

Georgia McBride – 1

Hysterical - 1

Queen of Basel – 1

The Rembrandt – 1

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Tony Musings - Best Performance by an Actor/Actress in a Featured Role in a Musical

IT’S TONY TIME!

The Tony Award nominations were announced earlier this month.  Some interesting selections and snubs.  I think this is one of the most competitive seasons in a long time.

I continue with my pithy views on the musical nominations.  Let’s see if you agree or not.  Send me your thoughts.  I always love to hear from you.  

The schedule will be:

May 18 - Best Direction of a Musical & Best Choreography

May 24 - Best Book of a Musical & Best Original Score

June 1 - Best Performance by an Actor/Actress  in a Featured Role in a Musical

June 5 - Best Performance by an Actor/Actress  in a Leading Role in a Musical

June 9 - Best Revival of a Musical & Best Musical

 

Best Performance by an Actor in a Featured Role in a Musical

Kevin Cahoon, Shucked

Justin Cooley, Kimberly Akimbo

Kevin Del Aguila, Some Like It Hot

Jordan Donica, Lerner & Loewe's Camelot

Alex Newell, Shucked

As the character of Peanut (Kevin Cahoon) from Shucked might say, “Goodness, goodness.”  I think this is the most competitive category from all the nominations.  So many other excellent performances left off the list - Gavin Creel and Joshua Henry from Into the Woods and Paul Alexander Noland and Jay Armstrong Johnson from Parade.  While I don’t think anyone would have an issue with any of the five nominees winning, the Tony should go to Alex Newell for their hilarious portrayal of cousin Lulu from the musical Shucked.  How many performers can say they incite a standing ovation - during the middle of a show!  Their big number, “Independently Owned,” generates that type of reaction from the audience.

Best Performance by an Actress in a Featured Role in a Musical

Julia Lester, Into the Woods

Ruthie Ann Miles, Sweeney Todd: The Demon Barber of Fleet Street

Bonnie Milligan, Kimberly Akimbo

NaTasha Yvette Williams, Some Like It Hot

Betsy Wolfe, & Juliet

Another solid group of actresses.  NaTasha Yvette Williams and Betsy Wolfe are very good.  Ruthie Ann Miles is solid.  But it is Bonnie Milligan and Julia Lester that had audiences talking as they exited the theater.  I’m going with Julia Lester with her snarky, calculating portrayal of Little Red Riding Hood from the all-star production of Stephen Sondheim’s revival of Into the Woods.  I think there was more nuance to her performance and she made the most of her time on stage.